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.FILL INDENT 6
	The difficulty in analyzing this last half of the development
section stems mainly from the ambiguity of function in the long string
of ascending seventh chords.  Even though a satisfactory analysis of the
tonal bases can be worked out here, it is obvious that our comprehension
of such passages depends greatly on the much less problematical element
of motivic continuity.  It will be seen later how the functional 
ambiguity of late 19th-century music led to a situation wherein the
motivic or, more broadly speaking, contextual element took over the
primary organizational role from tonal harmony.

	The recapitulation of this Mozart movement offers no new
complications.  The few new tonics can easily be identified.

	It will be noticed that most of the work on the role of the
piece's more complex chromaticism has been assumed during the
preceding discussion.  This can hardly be otherwise, even when
approaching a work from the largest view first.  The more complicated
the details are, the more difficult it usually becomes to form an
immediate view of the larger tonal movements.  The same will often
prove true concerning the other of the first three analytical 
procedures outlined in Chapter VIII.  What questions that may be
left in this area will probably be covered in the discussion which
follows the complete analysis of the movement.
.BEGIN VERBATIM

Figure 94.  Mozart, Sonata in F, K.533, 
			second movement (Andante).
.END
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.FILL INDENT 6
	Space does not permit discussion of all the problematical
details, but a few things should be pointed out.  Many more chords
of weak structural nature might be enclosed by parentheses (see bar 1),
but to do this aspect full justice a complete rhythmical analysis
would be necessary.  The linear element, especially in the bass, is
another factor which has been largely neglected but which certainly
contributes to the relative value of the function of the chords.  (Note
the bass ascent from bar 3; F-G-A-B%4F%1-C-D-E%4F%1-F, etc.)  

	At bars 24 and 25 there is no question of a %4A%1 chord, since 
the bass is melodic.  At bar 29 its melodic role is much weaker.  From 
bar 33 to bar 38 we have a prolonged ↓_F_↓ cadence with "contrapuntal" 
decorating functions.  The functions listed on the third beats of
bars 37 and 38 are formed by the implications of the lines.  Notice
especially the details of the line in bar 37; it is almost the same 
in bars 50 and 52.  In these latter cases, however, some ambiguity
results, since it is a little difficult to specify all the chord
tones.  The thrice repeated cambiata figure first gives the impression
of defining chord tones at intervals of the fourth.  However, the primary
note of the last cambiata in each case is itself an emphasized 
appoggiatura to the next to last note of the bar.  Thus these two
measures present the F7 chord unless they are viewed as inverted
positions of the dominant ninth chord.

	Naturally, if the repeat of the second section is considered,
there would be a small change on the highest line of the middle
ground.  The ↓_d_↓ control tonic at bar 47 might read ↓_iii_↓ (of the basic
tonic ↓_B%4F%1_↓) the second time through.  Everything below that line would
remain the same.

	Many more harmonic relationships lie in the piece than are
expressed in our large diagram, but this process of creating an
analysis may be adapted to whatever scale of detail might be desired.
It is hoped that this process will instill the individual with a 
heightened awareness of the music, thereby clearing the way for the
comprehension of the work's full intellectual and emotional potential.
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.begin verbatim


Exercises for Chapter IX

  Analyze the following movements from the Sonatas of Mozart:

.end
.nofill indent 0
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